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morrigand · 3 years

Text

grey day movies

pov: you're watching movies and drinking hot coffee while it's raining outside

10's

knives out (2019) | rian johnson // mystery, comedy

the lighthouse (2019) | robert eggers // horror, suspense

el hoyo (2019) | galder gaztelu-urrutia // horror, suspense

la influencia (2019) | denis rovira // horror, suspense

suspiria (2018) | luca guadagnino // horror, suspense

hereditary (2018) | ari aster // horror

halloween (2018) | david gordon green // horror, slasher

shape of water (2017) | guillermo del toro // drama, suspense

the witch (2015) | robert eggers // horror, suspense

the hateful eight (2015) | quentin tarantino // western, drama

crimson peak (2015) | guillermo del toro // drama, suspense

what we do in the shadows (2014) | taika waititi, jemaine clement // comedy, found footage

the lords of salem (2012) | rob zombie // horror

skyfall (2012) | sam mendes // action, adventure

the girl with the dragon tattoo (2011) | david fincher // mystery, suspense

shutter island (2010) | martin scorsese // suspense, mystery

00's

orphan (2009) | jaume collet-serra // mystery, suspense

antichrist (2009) | lars von trier // horror, drama

coraline (2009) | henry selick // horror, fantasy

inglourious basterds (2009) | quentin tarantino // war film, action

ratatouille (2007) | brad bird // drama, comedy

à l'intérieur (2007) | alexandre bustillo, julien maury // horror, gore

dead silence (2007) | james wan // horror, mystery

zodiac (2007) | david fincher // suspense, mystery

sweeney todd, the demon barber of fleet street (2007) | tim burton // musical, horror

pan's labyrinth (2006) | guillermo del toro // suspense, fantasy

pirates of the caribbean 2, dead man's chest (2006) | gore verbinski // action, adventure

the devil wears prada (2006) | david frankel // comedy, drama

casino royale (2006) | martin campbell // action, adventure

pride and prejudice (2005) | joe wright // drama

corpse bride (2005) | tim burton, mike johnson // fantasy, musical

the call of cthulhu (2005) | andrew leman // horror, mystery

harry potter and the prisoner of azkaban (2004) | alfonso cuarón // fantasy

underworld (2003) | len wiseman // action, horror

house of 1000 corpses (2003) | rob zombie // horror

dagón, la secta del mar (2001) | stuart gordon // mystery, horror

amélie (2001) | jean-pierre jeunet // drama, romance

snatch (2000) | guy ritchie // crime, comedy

90's

audition (1999) | takashi miike // horror, mystery

eyes wide shut (1999) | stanley kubrick // mystery, drama

the matrix (1999) | lana wachowski // science fiction, action

the craft (1996) | andrew fleming // horror, fantasy

seven (1995) | david fincher // horror, suspense

the crow (1994) | alex proyas // fantasy, action

the mask (1994) | chuck russell // action, comedy, crime

the nightmare before christmas (1993) | henry selick // fantasy, musical

body bags (1993) | john carpenter // horror, comedy

jurassic park (1993) | steven spielberg // action, science fiction

bram stoker's dracula (1992) | francis ford coppola // horror, romance

batman returns (1992) | tim burton // action

the silence of the lambs (1991) | jonathan demme // suspense, horror

the addam's family (1991) | barry sonnenfeld // comedy, fantasy

misery (1990) | rob reiner // horror, suspense

it (1990) | tommy lee wallace // horror, suspense

80's

child's play (1988) | tom holland // horror, slasher

hellraiser (1987) | clive barker // horror, slasher

the fly (1986) | david cronenberg // horror, science fiction

the name of the rose (1986) | jean-jacques annaud // crime, mystery

amadeus (1984) | milos forman // drama, comedy

the thing (1982) | john carpenter // horror, science fiction

blade runner (1982) | ridley scott // science fiction, neo-noir

an american werewolf in london (1981) | john landis // horror, comedy

the shining (1980) | stanley kubrick // horror

70's

alien (1979) | ridley scott // horror, science fiction

nosferatu: phantom der nacht (1979) | werner herzog // horror, drama

halloween (1978) | john carpenter // horror, slasher

suspiria (1977) | dario argento // horror, giallo

the omen (1976) | richard donner // horror, suspense

taxi driver (1976) | martin scorsese // drama, suspense

monty python and the holy grail (1975) | terry gilliam, terry jones // comedy

young frankenstein (1974) | mel brooks // comedy, parody

willy wonka and the chocolate factory (1971) | mel stuart // musical, fantasy

60's

rosemary's baby (1968) | roman polanski // suspense

dr. terror's house of horrors (1965) | freddie francis // horror, fantasy

mary poppins (1964) | robert stevenson // musical, fantasy

the birds (1963) | alfred hitchcock // suspense

tales of terror (1962) | roger corman // horror, mystery

dr. no (1962) | terence young // action, adventure

breakfast at tiffany's (1961) | blake edwards // romance, comedy

101 dalmatians (1961) | wolfgang reitherman, clyde geronimi, hamilton luske // adventure, comedy

village of the damned (1960) | wolf rilla // horror, science fiction

psycho (1960) | alfred hitchcock // suspense

black sunday (1960) | mario bava // horror, drama

50's

house on haunted hill (1959) | william castle // horror

north by northwest (1959) | alfred hitchcock // suspense, noir

the fly (1958) | kurt neumann // horror, science fiction

the crawling eye (1958) | quentin lawrence // horror, science fiction

12 angry men (1957) | sidney lumet // crime, drama

creature from the black lagoon (1954) | jack arnold // horror

rear window (1954) | alfred hitchcock // suspense, mystery

singin' in the rain (1952) | gene kelley, stanley donen // musical, romance

strangers on a train (1951) | alfred hitchcock // suspense, noir

in a lonely place (1950) | nicholas ray // noir, drama

all about eve (1950) | joseph l. mankiewicz // drama

sunset boulevard (1950) | billy wilder // noir, drama

40's

the third man (1949) | carol reed // noir, mystery

ladri di biciclette (1948) | vittorio de sica // drama

the big sleep (1946) | howard hawks // noir, mystery

double indemnity (1944) | billy wilder // noir, mystery

casablanca (1942) | michael curtiz // romance, drama

citizen kane (1941) | orson welles // drama, mystery

the maltese falcon (1941) | john huston // noir, mystery

fantasia (1940) | wilfred jackson, hamilton luske, ben sharpsteen // musical, fantasy

rebecca (1940) | alfred hitchcock // suspense, romance

30's

gone with the wind (1939) | victor fleming // drama

modern times (1936) | charles chaplin // comedy, romance

bride of frankenstein (1935) | james whale // horror, fantasy

it happened one night (1934) | frank capra // romance, comedy

duck soup (1933) | leo mccarey // comedy, musical

the mummy (1932) | karl freund // horror

frankenstein (1931) | james whale // horror

m (1931) | fritz lang // suspense, crime

dracula (1931) | tod browning, karl freund // horror

20's

the man who laughs (1928) | paul leni // drama, mystery

nosferatu, eine symphonie des grauens (1922) | friedrich wilhelm murnau // horror

das cabinet des dr. caligari (1920) | robert weine // horror, mystery

10's

der student von prag (1913) | stellan rye, paul wegener // horror, mystery

00's

le voyage dans la lune (1902) | georges méliès // science fiction, fantasy

90's

le manoir du diable (1896) | georges méliès // horror

feel free to recommend more movies in the comments :D

197 notes · View notes

montysworld · 3 years

Video

vimeo

Zara Origins - Avril 14th from Roger Guàrdia on Vimeo.

Visual experience based on APHEX TWIN's song Avril 14th for the new Origins collection by Zara.

FILM CREDITS

Directed by Roger Guàrdia -----------

Produced by CANADA -----------

Executive Producer Víctor Mata

Producer Marga Sardà Badia -----------

Director of Photography Ryan Marie Helfant

Production Designer Oian Arteta

Production Manager Yolanda Gata

1st AD Diego Núñez

Stylist Marq Rise

Make-up Artist Lucy Bridge

Hair Artist Louis Ghewy

Editor Carlos Font Clos

Grading Marc Morató @ La Metropolitana

Sound Design Jack Sedgwick @ Wave Studios

Postproduction La Metropolitana -----------

Production Coordinator Marta Vega

Production Assistant Aina Salarich

Ecoshoot Coordinator Aurora Muñoz

Postproduction Coordinator Sara Camacho

Postproduction Supervisor Iván Iniesta @ La Metropolitana

PAs/Drivers Pau Arévalo David Ceballos Guille Lavin Gerard Llopart Marc Massó Ramón Novellas Marcelo Pérez Oscar Pérez Aitor Rau Oriol Recasens Riky Serrano

Ecoshoot PA David Medina

PA Trainee Sara Martínez

Set Manager Aiman Halabi

Location Manager Iván Gómez

Location Assistant Sergi Cabrera

Location Scout Jaume Jordana Joel López Matías Saravia

2nd AD Dani Velázquez

3rd ADs Helena Lobato Albert Marcos

Casting Lane Casting

Special Effects Clemente Torres

Animal Wrangler Gabriel Lozano

-----------

Focus Puller Toni Rodríguez

2nd AC Eneko Abad

Clapper Loader Mònica Mauri

VTR Xavi García

Steadycam Operator Sacha Naceri

Camera B Operator Teo López Camera B Focus Puller Iván Buñuel

Camera B 2nd AC Arkaitz Latorre

Camera B VTR Kian Rahnema

Scuba Cam Jose Manuel Herrero

Scuba Cam Assistant Raúl Caso

Gaffer Juan F. Román

Sparks Raul Alimbau Alberto Álvarez Jordi Biosca Alex Carvajal Juan F. Flores Oscar Gallego Víctor Gasull Xavier González Patrik Herchl Víctor Moreno Joan Manel Pérez Jesús Manuel Prieto Santi Rodríguez Jordi Sánchez

Key Grip Jordi Soms

Grip Toni Espejo

Scorpio Crane Jordi Galán

Sound Technician Carles Prats

Boom Operator Gabriel Hernan

----------- Assistants Art Director Cristina Cortizo Anna Llubera

Props Buyer Eduard Arbona

Art Assistants Julien Anderson Nata Jacob Jonathan Rodríguez Sergi Ruiz

----------- Styling Assistants Alexa Barrios Maria Combalia Iria Franch Nona Permanyer Bea Rivas

Seamstresses Aloma Abeyà Blanca Oliva

Mk’up Ass. to Ms Bridge Kyle Dominic Jana Reininger

Hair Ass. to Mr Ghewy Eduardo Bravo

Add. Talent Mk’up & Hair Oliva Marcos

Add Talent Mk’up & Hair Ass. Cristina Casanovas Eli García Olalla Limeres Sandra Martín Vanessa Sánchez Laura Sans

Manicurist Rosa Matilla ----------- Main Talent Takfarines Bengana Rogier Bosschaart Kwaku Broni Ottawa Kwami Chester McKee Babacar N’Doye Yura Nakano Sacha Quenby Mika Schneider Moustapha Sy

----------

Orchestra Furius Music Orchestra

Underwater Stunt Carlos Ribera @ Filmsport

Background Extras JK Guzman

----------- Storyboard Roger Pibernat

Credits Design Judit Musachs

BTS Camera Operators Pol G. Sala Juanjo López

BTS Photographer Dani Pujalte

BTS & Assistant Editor Bernat Udina

----------- “Avril 14th - Orchestral Version” Music: Aphex Twin ‘Avril 14th’, Courtesy of Warp Records Music Production Hook and Line Inc. Orchestral Arrangement Bryan Senti Production Assistant Francesco Le Metre

Music Mix Bill Mims @ Alpha Road Studios in Los Angeles, California

Studio recording by FILMharmonic Orchestra in Prague on August 31st, 2021 Conductor: Adam Klemens Sound Engineer: Jan Holzner Assistant Sound Engineer: Michal Hradiský Orchestra Contractor and Recording Sessions Manager: Petr Pycha

Live performance by Furius Music Orchestra in Barcelona on August 22nd, 2021

-------------- Suppliers

Servicevision Zeferino Another Light Blacklight Grip Support Cinelab London Zafarrancho Location Support Quadis AAV LocLum Kaizen Modasa Lazaro Dynamic International Inextremis Elemento FX Animales a Rodar Frankachela Tasta’m Cinevent Geseme Blue Screen Freecov Travelface

------------ Special Thanks Momo M. Javier G. Javier R. Carlos T. Jacobo S. Oscar G. Antonio P. Carlos N. Javi Botella Marina M. Campomanes Sophie Williams Davey Ahern Cristina López Diana C. Milesi

------------ Shot in Barcelona on August 19th-22nd, 2021.

2 notes · View notes

ducavalentinos · 4 years

Photo

Bellonci clearly had a nasty and evident hostility towards Cesare and throughout her book there are several moments of her bringing him up only to badmouth him, but this page here, that is right at the beginning, I thought it was the most interesting because is kind of an intro to how she will be presenting Cesare, and it sets up the stage for the bad fratricide telenovela she explores later on. Her claims here doesn’t escape the pattern too much of other works when dealing with Cesare, but that’s also why this page is so interesting, because it’s a good example of how many so-called “facts” about him and his life are only presented as such because they were repeated over and over again, and not because there is any substantial documented evidence behind it. So, she starts by saying: “No one could have had less vocation for the religious life than Cesare Borgia, and he was the first to admit it.” This claim is always present in most Borgia works, but it ends up being misleading because what Bellonci and other scholars considers as having the vocation for the religious life wasn’t much of a thing during Cesare’s time, not on his circle at least, at the Vatican. Having piety didn’t mattered as much as having diplomatic skills, political intelligence and the right connections. These men’s families, wealthy and noble in most cases, put them there to secure and support their interests within the Church. It was to guarantee themselves on both fronts, secular and ecclesiastical, to maintain their power and riches. That actually makes Cesare Borgia the rule and not the exception of the rule.

As for his admittance of his “lack of vocation” it can’t be seen as some definitive proof as Bellonci intends here, because whether he was being genuine or not (we will never know) we can’t ignore the political background of his “admittance”, that being: Rodrigo needed someone he trusted to accomplish his design of: 1. bringing the papal states under the full authority of the Church, and to destroy the Roman barons who were a constant source of trouble for the papacy and the city itself, and 2. to carve out a State for his family like other nobles italian families had done over the centuries. So Cesare’s speech had a very specific and difficult goal to achieve: to convince the cardinals and get the necessary votes so he could resign his cardinalate. It would be naïve to think that this speech, one in which their family’s advancement depended on, wouldn’t have been meticulously prepared by Cesare, alongside others, and with the supervision and approval of Rodrigo beforehand. And there is a some debate and assertions that Cesare forced his father into releasing him from his cardinalate, but there is no evidence for this. If anything Cesare seemed unsure, or at very least cautious about leaving his ecclesiastical life which brought him immense wealth and security, for a secular life where everything was yet to be determined. In any case, his feelings over this would have hardly mattered, the final decision about the family’s matters always came from Rodrigo. To think that Cesare had a voice, a “dark influence” over Rodrigo about these things is to underestimate the power and character of Rodrigo Borgia. He was a loving and generous father, but for that he expected nothing less than full obedience from his children, and he did not liked being contradicted. Cesare didn’t had a voice in these things anymore that Lucrezia, Juan or Gioffre did. If Rodrigo wanted him to stay a cardinal, then he would have stayed a cardinal, if Rodrigo wanted him to leave his cardinalate, then he would leave, whatever benefited their house better. “But after the collapse of the marriage negotiations with King Ferrante of Aragon, his hopes of escaping from the ecclesiastical life evaporated and it looked as if he was prepared to accept the career that his father had planned for him.” Cesare never accepted the career his father planned for him, and that he wanted to escape his ecclesiastic life, but are there any grounds for these claims? In all his years in the Church, there is not one recorded instance of Cesare showing an overwhelmingly distaste or any rebellion towards the career Rodrigo chose for him. And there is nothing, not even anecdotes hinting that he was trying to “escape it.” Taking a look at the administrative and pastoral activity that his vicars developed in their dioceses, demonstrates Cesare exercised his role dutifully and responsibly, and with interest. There is evidence of this intense management from the man he appointed for the headquarters of Pamplona, Martín Zapata. And from Jaume Conill’s pastoral work in the archbishopric of Valencia. There’s even a report from Conill to Cesare from August of 1494 in which he updates Cesare on the increase of confessions and rejoices at the shortage of victims due to the plague. Moreover Cesare wasn’t exactly as faithless as some authors like to claim he was, he had piety. It wasn’t a fervent, fanatical, blind piety, because it didn’t seem to be a trait in his family, from his father to his sister, they all had a pretty interesting and particular relationship with religion, but there’s more than one example where we can see religion was a part of his life also (another topic that needs exploring and maybe I’ll do it later), so there is nothing serious indicating that the ecclesiastical life was so alien, so dreadful for Cesare as that he sought to escape it, as it is assumed by Bellonci and others. Then she says: “What mattered to him most in any career was to avoid servility and mediocrity and to direct his energy towards the immediate acquistion of some position of authority.” I love this bit because I love how she mixes shady, groundless claims along with claims that do have more ground of being true. It’s true that Cesare always seemed to have tried to avoid mediocrity, although that wasn’t exclusive to him, the upbringing of noble children didn’t exactly leave room for mediocrity, it didn’t for Rodrigo Borgia’s children, he gave them the best education money could buy, and I don’t think he would have been satisfied with anything less than excellence from them, which in retrospect could be another reason why his relationship with Joffre wasn’t the same as his relatioship with Lucrezia, Cesare and Juan. As for avoiding servility, it’s actually difficult to ascertain. He doesn’t come across as someone who had an excessive willingness to please others (I don’t think that’s a bad thing btw lol), and maybe he did avoid it. But there’s some evidence that indicates he did enjoyed pleasing others, when possible, esp. those he appreciated it, just not at his and his family’s expense, which wasn’t that different a behavior from the rest of his family. He was generous and overall he seemed to liked being useful to people and to help solve problems. And the acquistion of some position of authority, it’s kinda of strange that Bellonci seemed to think that’s where he directed his energy towards, given that by 1492 right after his father became pope, if we judge by his letter to Piero de’ Medici, Cesare already had a pretty high position of authority, and he was perfectly aware of it. I mean after Rodrigo himself, Cesare was the one who had the most authority to deal any political affairs. Rodrigo trusted and relied on him, he was constantly by father’s side so he was privy to matters few others or no one else was. What Cesare seems to have directed his energy towards was trying to secure himself and his family’s power as much as he could so that when Rodrigo died, he wouldn’t be in a poor situation having to rely on others. It’s an entirely subjective point, we will never know what truly were his plans and feelings, but he doesn’t come across as someone wanting authority for the sake of wanting to have authority over others, nor does he seemed to have wanted power simply because he was power-hungry or something, but because he was painfully aware that all of his wealth and privileges were tied to his father, that power was essential for his survival and well-being, and that it was his responsibility (just as once it had been Rodrigo’s) to advance his family’s glory and perpetuate the legacy of the house of Borja. “Cesare was well aware of the gulf between his aspirations and reality and he had learnt the art of dissumulation. From infancy he had been destined to follow a career to which he knew he was unsuited, just as he knew Juan was ill-suited to his destined career of arms.” Bellonci is going on the premise that there was such a gulf between Cesare’s aspirations and his reality, when honestly there really wasn’t. This is a fabricated notion that comes from a modern perspective that men of the Church are men who are only fit for matters of spirituality, but as I said above, that doesn’t correspond with the reality, not even today, and definitely not in Cesare’s times. Men of the Church were first and foremost politicians and they acted both on spiritual matters as well as secular ones, even commanding armies and going full-on warriors if it was necessary. Bertrand du Pouget is a good example, also Ippolito d’Este, pope Leo IX, pope Clement VII, although he’s seen more as an anti-pope, and of course Della Rovere. Except for marriage, a churchman could do pretty much anything a layman could. Cesare surely knew that, so he wouldn't necessarily have felt this “gulf” between his reality and his aspirations, whatever those might have been, as it is claimed. His “warrior” side could be accommodated just fine within his ecclesiastic role. As for him learning the art of dissimulation, of course he did, as did Lucrezia and Rodrigo. It would a mistake to think they wore their hearts on their sleeves in public. If we’re being honest, any noble that wanted to survive the court they lived in needed a goal deal of dissimulation to go about with their lives. Cesare was no different than any of them on that. And finally, Bellonci has no way of knowing that Cesare from infancy knew he was unsuited for the career Rodrigo chosed for him, much less what he thought about Juan and his career. Bellonci is mostly projecting her own beliefs onto Cesare here and presenting it as a fact. His so-called unsuitablessness is unsubstantiated, apart from him sharing the same small vices his fellow cardinals did, as Alvisi amusingly says here: “Nè gli mancavano i piccoli vizi de’ giovani cardinali, e con loro fuggiva dalla mensa papale cui era convidato, perché vi era servita una sola vivanda. /Nor did he lack the small vices of the young cardinals, and with them he fled the papal table to which he was invited, because only one meal was served there.” And him apparently prefering to dress more as a layman than in his cardinal robes—which could have been for any number of reasons honestly, maybe he didn't liked it, yes, but also maybe it was just because they were more comfortable? esp. during the summer? and drew less attention to him? it's just a big leap to use his apparent dislike for ecclesiastical clothing as proof he hated being a churchman lol—there is surprisingly no scandals, nor accusations of bad behavior during these years of his life. Surely if he was so ill-suited, we would have at least one anecdote like the one about Rodrigo when he was still a cardinal at Siena? There is nothing of the kind. These claims come from a hindsighted stance of events, and it just serves to build up a motivation for the crime that is about to happen, without motivation, you can’t accuse Cesare as the culprit of Juan’s murder, and this personal drama is easier to sell than the simple jealousy over Sancia d’Aragona. “And so, twenty years earlier than most men, he had had to face the reality of a solitary existence, and he experienced either burning ambition or icy pessimism. His rancour doubtless played a large part in alienating him from the rest of the world, and he passed his complicated youth in that silence which is the first and last refuge of the frustrated. His sensitiveness got twisted into cruelty and made him monstrously lucid, he understood his father’s weakness, but the second-sight by which he infallibly got his own way was diabolical.” Beautiful writing, one that is meant to convince the reader he/she has a grasped the soul and mind of Cesare Borgia. But then again, as most of this paragraph, it’s all just literary without any substance. Reading Bellonci I wondered many times if she had a time machine or the Borgia family’s secret journal, because she speaks as if she were there with them, and they confessed all of their feelings and private thoughts to her. This is fiction. She is implying that his solitary existence came from the fact that his reality was at odds with his desires, when there’s no proof to suggest that was the case, and that he was kind of a lone wolf? and that’s just blatantly incorrect. Maybe we can guess he might have felt lonely sometimes in a way that people with a high intellect, people who are ahead of their time usually does because it’s difficult to find other like-minded people, but he was and remained very close to his family and some friends until the end of his life, he was far from being a solitary man. He must have experienced “icy” pessimism and burning ambition just like any human being, but it certainly wasn’t his only two emotions, and very likely had nothing to do with Juan and his own career, and more with his family’s enemies and the political scenarios he was a part of. Was it really his rancour that alienated him from the world or was that the world he lived in so hostile to him and his family that they alienated themselves in order to feel safe? Hmmmm. And I’m sorry but, throwing complicated youth and Cesare Borgia in the same sentence is simply absurd. Are we talking about the same Cesare Borgia? The handsome, incredibly rich young man? Whom his contemporaries had to admit was charming, cheerful, polite and graceful? The one that when he wasn’t studying or working hard, we see him having fun with his Spaniard buddies, have love affairs, hunting, finding any excuse for dancing and bull-fighting, basically enjoying life wherever he could, this Cesare Borgia? Give me a break, I wish my youth was as complicated as his djsdjsds. The image of this dark, sulking, frustrated man, full of bitterness is very much a product of fiction, and totally incompatible with the reports written about him. As for “his sensitiveness” that got twisted “into cruelty”, i find it irking when scholars throw these words out there and don’t bother pointing out exactly what they are referring to. Borgia scholars are always talking about Cesare’s cruelty, his alleged “mean-streak”, but they don’t give any examples. If you are going to say a person is cruel, then I, at the very least, expect you follow that by an event where their cruelty is revealed. Explain your thought process, that’s all I’m asking. What are the pieces of evidence that revels Cesare’s sensitivity? and what are the pieces of evidence that revels Cesare’s cruelty? Otherwise it’s impossible to know what you mean and I’m not going to take your assessment of this person’s character seriously. Now I understand that when scholars speak of Cesare’s sensitivity, they are usually referring to his reaction towards the men responsible for the libels slandering him and his family, and although it would be understandable for him to feel outraged, I think it’s a mistake to link Cesare’s punishment of those men with his inability to take insults as Rodrigo says to the Venetian ambassador. If Cesare really was so sensitive about insults against him and his family, wouldn’t we have a long list of his victims that died simply for the deed of having offended him? which remarkably we don’t. That implies that Cesare could take insults, but when these insults were tied up with politics, he acted. The men spreading these libels, the Savelli letter being the main one, weren’t doing so to entertain the people of Rome and Italy. It wasn’t just titillating gossip. It was a clever and effective political propaganda made by Rodrigo and Cesare’s enemies to “kill” their reputation since they couldn’t, at that moment, literally kill them. It was meant to overshadow any and all positive policies their governments were doing, and put public opinion against them. Cesare understood what his father couldn’t, and he rightly tried to contain it somehow, which brings me to these men’s punishment and how it’s the only documented example I can think of that would fit the general definition of cruelty, and even so, it’s not a great one. There’s an anecdote about Cesare shooting bandits from his balcony at the Vatican with Lucrezia by his side that imo, would fit better the definition of “wanton cruelty” and having a “mean-streak”, but the authenticity of this story can't be verified, and it seems to have been just slander. Although it is odd Lucrezia’s biographers never mention this in their works, given that they don’t seem to mind authenticity when it comes to Cesare, and it would provide them with the best example for Cesare’s cruelty they go on so much about. I wonder why that is. But when Bellonci wrote this sentence, she is aiming to conclude both her presentation of Cesare and why he murdered Juan. The whole point of this page she wrote was to create the right environment for the fratricide act. Cesare’s sensitivity made him incapable of dealing with his feelings of anger and frustration over his life, and that manifested into cruelty, that here is tied to the murder of his brother along with other crimes she uncritically pins on him, which turned him into a monster and only then he had the lucity to see what it had to be done since his father was too weak when it came to Juan. If he were to get his way, then he would have to commit a diabolical act. But apart from what I already wrote on why all the claims about Cesare’s being unsuited for this career, how he hated it and envied Juan are baseless, there’s another hole in this narrative, Rodrigo Borgia’s own decisions about Juan. They’re ambiguous af, and I think his plans weren’t always so set in stone as it is sometimes imagined, he was a shrewd, pragmatic man, so he probably changed his plans according to the political scenarios around him, and the benefits it would bring to his family and the papacy. Yes, he appointed Juan as Gonfalonier and Captain General of the Church, and invested many benefices upon him, but he also married Juan to Spain, and after the fiasco with the Orsinis (which to be fair, wasn’t just Juan’s fault) it seems he was sending Juan back to Spain, and it really looks as if Rodrigo’s design was to secure the Borgia’s power in both his native country and Italy. Juan seemed to be the one ensured to make that happen in Spain, while in Italy, it was up to Cesare, Lucrezia and Gioffre. Considering all this definitely puts obstacles to Bellonci’s assertions, and it’s easy to see why she ignored it. “His solitude was his fortress, and he used his inhuman courage and self-sufficiency to serve his idolatry of power.” No, his family was his fortress, again he was not a lone wolf, he worked in sync with his father, his brothers and his sister, and he very much relied on them and on others. He was brave, but it was far from being inhuman, and I absolutely have no idea what Bellonci means with his self-sufficiency given that his whole life was depended on others, and he knew it too, and he tried to change that. And his idolatry of power, it’s another thing scholars like to claim about him, but Cesare’s fascination with power, if we can call it that, wasn’t all that different from other nobles, and it wasn’t such to say he worshipped it. I have no idea where there came from, probably from bad interpretations of The Prince. It wasn’t a fascination of power for the sake of it. Having power at Cesare’ time and environment was tightly connected with your survival. If you were a person in a high position of power, maintaining that power was important if you wanted to keep breathing. If you lost it, you could die. Just like many spaniards did when Della Rovere became pope. The reason Cesare wasn’t among them is precisely because he had enough influence and power within the College of Cardinals to afford some protection. If he hadn’t cultivated that, if he hadn’t accumulated power in the Romagna, he would have been murdered not long after his father died, like it happened with the children of other popes. And I guess that finishes it. It’s a powerful page, but then again I do think that most Borgia authors are very talented when it comes to writing, and constructing narratives, but when you break it down phrase by phrase, weighting in the evidence that exists for such claims, 80% of the time you will come up empty handed, or with contradicting information. Many of the things said about them, esp. about their characters, it’s a historical construction, or authors’s personal interpretations of the material they studied, since much of the Borgia’s history (that was shaped by their enemies) is wrapped in mysteries and subjectivity. Bellonci’s biases are all over her work, and it’s the strongest I’ve read with so far with Borgia bios. She had a mentality of only being fair to those she sympathized with. She detested Cesare the most, so she didn’t cared about being fair to him, she accepted all sources and gossip said about him without any discernment. He is the embodiment of only bad traits and his actions only carries chaos and “dark unrest”, but also I do believe she believed most of what she wrote about him. It’s not difficult to see why. Cesare’s black legend, alongside the unfortunate Machiavellian prince image, that is usually attached to his name with its awful connotations are always looming in the back of people’s imagination, and it’s almost impossible not to carry these preconceived notions to his historical figure when writing about him I imagine, not that she tried lool, she didn’t. She seemed to have already made her judgment about Lucrezia, Rodrigo and Cesare even before she studied all the material about their lives. Her mission was to rescue Lucrezia from her horrible reputation at all costs, and put her on a pedestal, while dragging the Borgia men and anyone else she didn’t liked, and well, she did succeeded at that, at least to a general audience and some academics.

#cesare borgia #maria bellonci #house borgia in history #borgia thoughts #so here's 9 pages of thoughts about cesare absolutely no one asked for djsdjsdjsjdsjds #but i guess that's what tumblr is for right?!#it was fun writing it #i promised i will do bellonci's lucrezia next #<33

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unpensadoranonimo · 4 years

Text

Las noticias (6/12/2019)

Ada Colau (BeC) adjudica 47 viviendas sociales a Jaume Roures por un millón de euros

Ada Colau (BeC) adjudica tres contratos 'a dedo’ a una empresa imputada por corrupción

El blindaje mediático de Silvia Clemente (Ciudadanos) con dinero público: 3,6 millones de publicidad institucional en cuatro años

El Gobierno admite que no puede luchar contra el fraude en las empleadas del hogar

El Gobierno aprovecha la Cumbre del Clima para cerrar acuerdos extrajudiciales por las demandas de las renovables

El Tribunal de Cuentas eleva el coste del rescate del sector financiero hasta los 66.577 millones de euros

Empiezan los sustos: algunas provincias comienzan a destruir empleo

La "alarmante" tasa de repetidores en España casi triplica la media de la OCDE

La embajada de Ghana opera desde la sede de IU sin el permiso municipal de venta

La gestión directa del Aeropuerto de Castellón será 1,2 millones de euros al año más barata que con la privatización que impulsó el PP

La jefa de auditoría de Podemos denuncia "irregularidades financieras" y en primarias

La Inspección de Trabajo duplicó hasta 1,5 millones las sanciones por discriminación de género en 2018

La Universidad Rey Juan Carlos de Madrid ha amasado desde su creación 185 millones

Silvia Clemente (Ciudadanos) y la prensa: 100.000 euros por noticias favorables quincenales y 9.000 por media hora de televisión

"Un bolígrafo, un paciente": cómo el Hospital de Málaga desperdicia casi toda la insulina para pacientes diabéticos

Un juez condena al Ayuntamiento de Jaén por denegar un local para una conferencia crítica con Israel

#noticias #corrupcion #españa

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emzeciorrr · 3 years

Video

vimeo

Zara Origins - Aphex Twin Avril 14th from Roger Guàrdia on Vimeo.

Visual experience based on APHEX TWIN's song Avril 14th for the new Origins collection by Zara.

FILM CREDITS

Directed by Roger Guàrdia -----------

Produced by CANADA -----------

Executive Producer Víctor Mata

Producer Marga Sardà Badia -----------

Director of Photography Ryan Marie Helfant

Production Designer Oian Arteta

Production Manager Yolanda Gata

1st AD Diego Núñez

Stylist Marq Rise

Make-up Artist Lucy Bridge

Hair Artist Louis Ghewy

Editor Carlos Font Clos

Grading Marc Morató @ La Metropolitana

Sound Design Jack Sedgwick @ Wave Studios

Postproduction La Metropolitana -----------

Production Coordinator Marta Vega

Production Assistant Aina Salarich

Ecoshoot Coordinator Aurora Muñoz

Postproduction Coordinator Sara Camacho

Postproduction Supervisor Iván Iniesta @ La Metropolitana

PAs/Drivers Pau Arévalo David Ceballos Guille Lavin Gerard Llopart Marc Massó Ramón Novellas Marcelo Pérez Oscar Pérez Aitor Rau Oriol Recasens Riky Serrano

Ecoshoot PA David Medina

PA Trainee Sara Martínez

Set Manager Aiman Halabi

Location Manager Iván Gómez

Location Assistant Sergi Cabrera

Location Scout Jaume Jordana Joel López Matías Saravia

2nd AD Dani Velázquez

3rd ADs Helena Lobato Albert Marcos

Casting Lane Casting

Special Effects Clemente Torres

Animal Wrangler Gabriel Lozano

-----------

Focus Puller Toni Rodríguez

2nd AC Eneko Abad

Clapper Loader Mònica Mauri

VTR Xavi García

Steadycam Operator Sacha Naceri

Camera B Operator Teo López Camera B Focus Puller Iván Buñuel

Camera B 2nd AC Arkaitz Latorre

Camera B VTR Kian Rahnema

Scuba Cam Jose Manuel Herrero

Scuba Cam Assistant Raúl Caso

Gaffer Juan F. Román

Key Grip Jordi Soms

Grip Toni Espejo

Scorpio Crane Jordi Galán

Sound Technician Carles Prats

Boom Operator Gabriel Hernan

----------- Assistants Art Director Cristina Cortizo Anna Llubera

Props Buyer Eduard Arbona

Art Assistants Julien Anderson Nata Jacob Jonathan Rodríguez Sergi Ruiz

----------- Styling Assistants Alexa Barrios Maria Combalia Iria Franch Nona Permanyer Bea Rivas

Seamstresses Aloma Abeyà Blanca Oliva

Mk’up Ass. to Ms Bridge Kyle Dominic Jana Reininger

Hair Ass. to Mr Ghewy Eduardo Bravo

Add. Talent Mk’up & Hair Oliva Marcos

Add Talent Mk’up & Hair Ass. Cristina Casanovas Eli García Olalla Limeres Sandra Martín Vanessa Sánchez Laura Sans

Manicurist Rosa Matilla ----------- Main Talent Takfarines Bengana Rogier Bosschaart Kwaku Broni Ottawa Kwami Chester McKee Babacar N’Doye Yura Nakano Sacha Quenby Mika Schneider Moustapha Sy

Pianist Nacho Durà

----------

Orchestra Furius Music Orchestra

Underwater Stunt Carlos Ribera @ Filmsport

Background Extras JK Guzman

----------- Storyboard Roger Pibernat

Credits Design Judit Musachs

BTS Camera Operators Pol G. Sala Juanjo López

BTS Photographer Dani Pujalte

BTS & Assistant Editor Bernat Udina

Music Mix Bill Mims @ Alpha Road Studios in Los Angeles, California

Live performance by Furius Music Orchestra in Barcelona on August 22nd, 2021

-------------- Suppliers

------------ Special Thanks Momo M. Javier G. Javier R. Carlos T. Jacobo S. Oscar G. Antonio P. Carlos N. Javi Botella Marina M. Campomanes Sophie Williams Davey Ahern Cristina López Diana C. Milesi

------------ Shot in Barcelona on August 19th-22nd, 2021.

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mundillotaurino · 8 months

Text

Clemente Jaume se sépare de son apoderado

Clemente Jaume n’a plus d’apoderado. Le novillero biterrois s’est séparé de José Ignacio Ramos, qui l’accompagné depuis la Temporada 2018 où il évoluait en sans picadors. Une page se tourne pour le novillero français qui va vite devoir rebondir En 5 ans de collaboration, l’ex matador de Burgos José Ignacio Ramos a permis au français de toréer un bon nombre de novilladas en Espagne. Cette saison,…

View On WordPress

#Clemente Jaume

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artwalktv · 3 years

Video

vimeo

Visual experience based on APHEX TWIN's song Avril 14th for the new Origins collection by Zara. FILM CREDITS Directed by Roger Guàrdia ----------- Produced by CANADA ----------- Executive Producer Víctor Mata Producer Marga Sardà Badia ----------- Director of Photography Ryan Marie Helfant Production Designer Oian Arteta Production Manager Yolanda Gata 1st AD Diego Núñez Stylist Marq Rise Make-up Artist Lucy Bridge Hair Artist Louis Ghewy Editor Carlos Font Clos Grading Marc Morató @ La Metropolitana Sound Design Jack Sedgwick @ Wave Studios Postproduction La Metropolitana ----------- Production Coordinator Marta Vega Production Assistant Aina Salarich Ecoshoot Coordinator Aurora Muñoz Postproduction Coordinator Sara Camacho Postproduction Supervisor Iván Iniesta @ La Metropolitana PAs/Drivers Pau Arévalo David Ceballos Guille Lavin Gerard Llopart Marc Massó Ramón Novellas Marcelo Pérez Oscar Pérez Aitor Rau Oriol Recasens Riky Serrano Ecoshoot PA David Medina PA Trainee Sara Martínez Set Manager Aiman Halabi Location Manager Iván Gómez Location Assistant Sergi Cabrera Location Scout Jaume Jordana Joel López Matías Saravia 2nd AD Dani Velázquez 3rd ADs Helena Lobato Albert Marcos Casting Lane Casting Special Effects Clemente Torres Animal Wrangler Gabriel Lozano ----------- Focus Puller Toni Rodríguez 2nd AC Eneko Abad Clapper Loader Mònica Mauri VTR Xavi García Steadycam Operator Sacha Naceri Camera B Operator Teo López Camera B Focus Puller Iván Buñuel Camera B 2nd AC Arkaitz Latorre Camera B VTR Kian Rahnema Scuba Cam Jose Manuel Herrero Scuba Cam Assistant Raúl Caso Gaffer Juan F. Román Sparks Raul Alimbau Alberto Álvarez Jordi Biosca Alex Carvajal Juan F. Flores Oscar Gallego Víctor Gasull Xavier González Patrik Herchl Víctor Moreno Joan Manel Pérez Jesús Manuel Prieto Santi Rodríguez Jordi Sánchez Key Grip Jordi Soms Grip Toni Espejo Scorpio Crane Jordi Galán Sound Technician Carles Prats Boom Operator Gabriel Hernan ----------- Assistants Art Director Cristina Cortizo Anna Llubera Props Buyer Eduard Arbona Art Assistants Julien Anderson Nata Jacob Jonathan Rodríguez Sergi Ruiz ----------- Styling Assistants Alexa Barrios Maria Combalia Iria Franch Nona Permanyer Bea Rivas Seamstresses Aloma Abeyà Blanca Oliva Mk’up Ass. to Ms Bridge Kyle Dominic Jana Reininger Hair Ass. to Mr Ghewy Eduardo Bravo Add. Talent Mk’up & Hair Oliva Marcos Add Talent Mk’up & Hair Ass. Cristina Casanovas Eli García Olalla Limeres Sandra Martín Vanessa Sánchez Laura Sans Manicurist Rosa Matilla ----------- Main Talent Takfarines Bengana Rogier Bosschaart Kwaku Broni Ottawa Kwami Chester McKee Babacar N’Doye Yura Nakano Sacha Quenby Mika Schneider Moustapha Sy Pianist Nacho Durà ---------- Orchestra Furius Music Orchestra Underwater Stunt Carlos Ribera @ Filmsport Background Extras JK Guzman ----------- Storyboard Roger Pibernat Credits Design Judit Musachs BTS Camera Operators Pol G. Sala Juanjo López BTS Photographer Dani Pujalte BTS & Assistant Editor Bernat Udina ----------- “Avril 14th - Orchestral Version” Music: Aphex Twin ‘Avril 14th’, Courtesy of Warp Records Music Production Hook and Line Inc. Orchestral Arrangement Bryan Senti Production Assistant Francesco Le Metre Music Mix Bill Mims @ Alpha Road Studios in Los Angeles, California Studio recording by FILMharmonic Orchestra in Prague on August 31st, 2021 Conductor: Adam Klemens Sound Engineer: Jan Holzner Assistant Sound Engineer: Michal Hradiský Orchestra Contractor and Recording Sessions Manager: Petr Pycha Live performance by Furius Music Orchestra in Barcelona on August 22nd, 2021 -------------- Suppliers Servicevision Zeferino Another Light Blacklight Grip Support Cinelab London Zafarrancho Location Support Quadis AAV LocLum Kaizen Modasa Lazaro Dynamic International Inextremis Elemento FX Animales a Rodar Frankachela Tasta’m Cinevent Geseme Blue Screen Freecov Travelface ------------ Special Thanks Momo M. Javier G. Javier R. Carlos T. Jacobo S. Oscar G. Antonio P. Carlos N. Javi Botella Marina M. Campomanes Sophie Williams Davey Ahern Cristina López Diana C. Milesi ------------ Shot in Barcelona on August 19th-22nd, 2021.

#Videos & Films

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nomad4everrr · 3 years

Photo

The castle of Monzón was the last Knights Templar stronghold in Aragón🇪🇦. When the Pope Clement V yielded in the Templar matter to Philip IV of France👑, known as The Fair, the Military Order had its days counted. After the first arrests⛓️ in France, confessions were extracted under torture. Thus, the pontiff decreed that the Templars be arrested throughout Europe⚔️. During 1308, Jaume II of Aragon gradually took over the fortresses of the Temple of his kingdom. He did so reluctantly and treated the captives well. However, the castle of Monzón did not surrender🛡️. The Huesca stronghold, the last Aragonese stronghold to fall, fell only on May 1309🏹. -- #travelgoals #traveltime #travelporn #instatravel #travelingram #travelphotography #instapassport #mytravelgram #instagood #vacation #visiting #sightseeing #igtravel #trip #holiday #travellogger #WorldTravel #traveltheworld #vlogger #travelbloggerlife #tourism #tourist #Monzon #Castillo #Castle #CastlesOfInstagram #KnightsTemplar #Templars (at Castillo de Monzón) https://www.instagram.com/p/CPaTI26pBvK/?utm_medium=tumblr

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tendido-5 · 2 years

Text

Novillada con Picadores :

Tarascon :

Toros : Vieux Soulauze.

📍Tristán : Oreja y Ovación tras aviso.

📍Christian Parejo : Silencio y Oreja.

📍Clemente Jaume : Ovación tras aviso y Oreja.

0 notes

bongianimuseum · 4 years

Text

“Fragilità e Distacco / 70 Years Ruggero Maggi”

COMUNICATO STAMPA

SPAZIO OPHEN VIRTUAL ART GALLERY

“Fragilità e Distacco / 70 Years Ruggero Maggi”

a cura di Sandro Bongiani

Dal 29 agosto al 28 novembre 2020

Inaugurazione: sabato 29 agosto 2020, ore 18.00

S’inaugura sabato 29 agosto 2020, alle ore 18.00, la mostra collettiva internazionale a cura di Sandro Bongiani dal titolo: “Fragilità e Distacco / 70 Years Ruggero Maggi” che lo Spazio Ophen Virtual Art Gallery di Salerno dedica all’artista italiano Ruggero Maggi, uno dei più interessanti artisti contemporanei nati negli anni cinquanta. Una importante mostra collettiva internazionale in concomitanza anche della speciale ricorrenza del suo settantesimo compleanno, presentando 289 opere di 295 artisti presenti su un totale corpus grafico di ben 388 opere arrivate da ogni parte del mondo.

Ruggero Maggi inizia la sua attività di artista negli anni '70 con lavori incentrati sulla poesia visiva, sulla mail art, copy-art, laser art e olografia caratterizzati anche dall’inserimento di “estratti” di vita reale. Con il passare degli anni queste strutture “interferenti” all’interno dell’opera sono diventate sempre più evidenti, in un rapporto di intensa “osmosi”, in cui a partire dal 1989 gli arcaici elementi naturali convivono con componenti tecnologici, fino alle opere recenti dove il concetto “Artificiale /Naturale” tra ”sincronismo concettuale e emozionale” assume un ruolo predominante consegnandoci una realtà in cui l’azione umana coincide con quella morale, in un complesso intrico di rimandi e di sollecitazioni. Sandro Bongiani nella presentazione a questa rassegna scrive: “un continuo interesse verso la natura e la dimensione umana in un complesso rimando di sollecitazioni e interferenze, di sottintesi e nascosti richiami in cui l'azione coincide sinteticamente con il tempo provvisorio e oscuro dell’uomo. In questa particolare condizione, la sua ricerca marginale di confine “più vera di natura” ha saputo prendere corpo e manifestarsi in una sintesi poetica accorta che condivide le urgenze estreme della vita ed i contrasti inquieti della nostra malandata società contemporanea”.

Artisti presenti:

Christian Alle Dino Aloi Antonio Amato Lutz Anders Leslie Atkins Paola Baldassini Franco Ballabeni Calogero Barba Fabiola Barna Donatella Baruzzi Pier Roberto Bassi Umberto Basso Keith Bates Elisa Battistella Lutz Beeke Giacomo Beffa Lancillotto Bellini Milena Bellomo C. Mehrl Bennett John M. Bennett Luisa Bergamini Mariarosa Bergamini Pedro Bericat Carla Bertola Diane Bertrand Rita Bertrecchi Massimo Biagi Gabriele Bianconi Lucia Biral Manuel Xio Blanco Antonio Bobò Rovena Bocci Norbert Bockmann Kika Bohr Giovanni Bonanno Adriano Bonari Anna Boschi Rosa Bosco Maria Cecilia Bossi Marzia Braglia Hans Braumüller Rossana Bucci Joachim Buchholz Anna Maria Buonapace Viviana Buttarelli Fulgor C. Silvi Mirta Caccaro Alfonso Caccavale Glauco Lendaro Camiless Loretta Cappanera Guido Capuano Lamberto Caravita Cascadia Artpost Bruno Cassaglia Antonia Mayol Castello Gianpiero Castiglioni Renato Cerisola Bruno Chiarlone Simonetta Chierici Silvia Cibaldi Cosmo Cinisomo Circulaire132 Maria Antonietta Claretto Anna Maria Cognigni Ryosuke Cohen Mabi Col Francesco Cornello Enzo Correnti Carmela Corsitto Crackerjack Kid Maria Credidio Anna Maria Crescenzi Laura Cristin Carla Crosio Rosa Cuccurullo Crescenzio D'Ambrosio Nicolò D’Alessandro Diana Danelli Marc De Hay Ko De Jonge Mario De Leo Antonio De Marchi Teo De Palma Adolfina De Stefani Albina Dealessi Michel Della Vedova Antonio Di Michele Debora Di Bella Elena Di Felice Maura Di Giulio Fabio Di Ojuara Franco Di Pede Marcello Diotallevi Giovanna Donnarumma Mike Dyar Eart Art Mimmo Emanuele Rita Esposito Ever Arts Cinzia Farina Fernanda Fedi Gretel Fehr Domenico Ferrara Foria Ivana Ferraro Luc Fierens Giuseppe Filardi Anna Finetti Alessandra Finzi Aaron Flores Maurizio Follin Roberto Formigoni Kiki Franceschi Nicola Frangione Piet Franzen SIDAC Giglio Frigerio Ivo Galassi Daniele Galdiero Rosalie Gancie Antonella Gandini Attilia Garlaschi Claudio Gavina Ombretta Gazzola Roberta Ghisla Roberto Gianinetti Mario Giavino Ed Giecek Gino Gini Guglielmo Girolimini Lino Giussani Coco Gordon Bruno Gorgone Daniela Gorla Claudio Grandinetti Elke Grundmann Paolo Gubinelli Giovanni Gurioli _Guroga Karl Friedrich Hacher Hanrahan Peter Hide 311065 Uwe Hofig Slanye Huang Carlo Iacomucci Ibirico Gennaro Ippolito Robert James Benedetta Jandolo Janus Edition Isabel Jover Magda Lagerwerf Felipe Lamadrid Giusi Lazzari Ettore Le Donne Nadine Lenain Pascal Lenoir Alfonso Lentini Marialisa Leone Giovanni Leto Pino Lia Pierpaolo Limongelli Pietro Lista Oronzo Liuzzi Serse Luigetti Ruggero Maggi Olga Maggiora Nadia Magnabosco Mailarta MailArtMartha Loredana Manciati Antonio Mancini Antonello Mantovani Angela Marchionni Renzo Margonari Patrizio Maria Dorian Ribes Marinho Laura Marmai Max Marra Calogero Marrali Maria Grazia Martina Maribel Martinez Gianni Ettore Andrea Marussi Anna Maria Matone Anja Mattila Michelangelo Mayo Monica Mazzone Pierluigi Meda Massimo Medola Myriam M. Mercader Miche Art Universalis Monica Michelotti Virginia Milici Gabi Minedi Antoni Mirò Annalisa Mitrano Henning Mittendorf Mauro Molinari Domingo Sanz Montero Maya Lopez Muro Museuvofmailart Keiichi Nakamura Giuliana Natali Katerina Nikoltsou Aldo Nodari Pierangela Orecchia Clemente Padin Lucia Paese Franco Panella Katia Paoletti Linda Paoli Paola Pareschi Sjoerd Paridaen Enzo Patti Giuseppe Pellegrino Remy Penard Walter Pennacchi Mariella Perani Marisa Pezzoli Riccardo Pezzoli Tarcisio Pingitore Horvath Piroska Valentina Poli Veronique Pozzi Painè Nadia Presotto Daniele Principe Tiziana Priori Gina Pritti Giancarlo Pucci Fabrizio Randini Cesar Reglero Gaetano Ricci Angelo Ricciardi Isabella Rigamonti Carla Rigato Ina Ripari Costantino Rizzuti Ilaria Rizzuti Jaume Rocamora Gian Paolo Roffi Claudio Romeo Piero Ronzat Giovanni Ronzoni Lorenzo Rosselli Manuel Ruiz Ruiz Marialuisa Sabato Hikmet Sahin Piero Sani Sergio Sansevrino Antonella Sassanelli Antonio Sassu Anna Maria Saviano Roberto Scala Duccio Scheggi Peter Schubert Lars Schumacher Jörg Seifert Cesare Serafino Lucio Serafino Tiziano Serafino Domenico Severino Noriko Shimizu Maria Josè Silva – Mizè Pietro Silvestro Cecilia Solamito Luigino Solamito Alberto Sordi Cristina Sosio Lucia Spagnuolo Celina Spelta Ciro Stajano Honoria Starbuck Giovanni e Renata Strada Rod SummersVec Elisa Taiola Franco Tajariol Nello Teodori Ernesto Terlizzi Gian Paolo Terrone Elsa Testori Roberto Testori Thierry Tillier Paola Toffolon Renata Torazzo Micaela Tornaghi Horst Tress Alan Turner Stefano Turrini Mikel Untzlla Sigismund Urban Valdor Generoso Vella Silvia Venuti Ada Vera Verbena Daniele Virgilio Alberto Vitacchio Antonio Zenadocchio Rolando Zucchini.

RUGGERO MAGGI / Biografia

Dal 1973 si occupa di poesia visiva e libri d'artista (Archivio Non Solo Libri); dal 1975 di copy art e arte postale (Archivio Amazon); dal 1976 di laser art, dal 1979 di olografia, dal 1980 di X-ray art e dal 1985 di arte caotica sia come artista - con opere ed installazioni incentrate sullo studio del caos, dell’entropia e dei sistemi frattali - sia come curatore di eventi: “Caos italiano” 1998; “Caos – Caotica Arte Ordinata Scienza” 1999 – 2000; “Isole frattali” 2003, “CaoTiCa” 2004, “Attrazione frattale” 2006, “Caos e Complessità” 2009, “Caos, l’anima del caso” 2010, “Caotica.2014” Lodi e Jesi.

Tra le installazioni olografiche: “Una foresta di pietre” (Media Art Festival - Osnabrück 1988) e “Un semplice punto esclamativo” (Mostra internazionale d’Arte Olografica alla Rocca Paolina di Perugia – 1992); tra le installazioni di laser art: “Morte caotica” e “Una lunga linea silenziosa” (1993), “Il grande libro della vita” e “Il peccatore casuale” (1994), “La nascita delle idee” (1993) esposta nel 1995 al Museo d’Arte di San Paolo (BR).

Suoi lavori sono esposti al Museo di Storia Cinese di Pechino ed alla GAM di Gallarate. Ha inoltre partecipato alla 49./52./54. Biennale di Venezia ed alla 16. Biennale d’arte contemporanea di San Paolo nel 1980.

2006 realizza “Underwood” installazione site-specific per la Galleria d’Arte Moderna di Gallarate.

2007 presenta come curatore il progetto dedicato a Pierre Restany “Camera 312 – promemoria per Pierre” alla 52. Biennale di Venezia.

2008 presenta come curatore il progetto “Profondità 45 – Michelangelo al lavoro” sul rapporto Arte -Tecnologia. Nel 2008 a Villa Glisenti (BS) ed all’Art Centre della Silpakorn University di Bangkok, per un simposio artistico italo-thailandese dedicato alle problematiche del riscaldamento globale, realizza l’installazione “Ecce ovo”.

2009 cura l’installazione site-specific collettiva “Prima o poi ogni muro cade” all’interno di PLAZA: OLTRE IL LIMITE 1989-2009 XX Anniversario della caduta del Muro di Berlino in Galleria del Corso a Milano; evento successivamente presentato a Villa Pomini a Castellanza (VA) e Spazio Luparia a Stresa.

2010 “GenerAction – un promemoria per le generazioni” progetto di Mail Post.it Art presso la Galleria di Arti Visive dell’Università del Melo - Gallarate.

2011/2013/2015/2017 presenta a Venezia con il Patrocinio del Comune di Venezia Padiglione Tibet, progetto presentato successivamente alla Biennale di Venezia, al Museo Diotti di Casalmaggiore (CR), palazzo Ducale di Genova e presso la Biblioteca Laudense di Lodi.

2014 PadiglioneTibet partecipa alla Bienal del Fin del Mundo in Argentina.

2016 “TERRA/materiaprima” progetto di Mail Art presso la Galleria di Arti Visive dell’Università del Melo – Gallarate.

2016 presenta Padiglione Tibet al Castello Visconteo di Pavia.

2017 presenta la 1 Biennale Internazionale di Mail Art a Venezia – Palazzo Zenobio

2018 Padiglione Tibet partecipa alla Vogalonga (Venezia)

2018 installazione “Erosioni in pinzimonio” - Poetry and Pottery Un’inedita avventura fra ceramica e poesia visiva - CAMeC centro arte moderna e contemporanea La Spezia

2018 installazione CaraPace - Museo Tecnico Navale - La Spezia

2019 “Onda Sonora” libro collettivo – V Biennale del Libro d'artista - Napoli

2019 ARTNIGHT Venezia – Padiglione Tibet - videoproiezione 2011.2019. Storia di un padiglione per un paese che non c'è - Magazzini del Sale, Reale Società Canottieri Bucintoro

2019 riceve il Premio alla carriera - PREMIO ARTE IN ARTI E MESTIERI 2019 – XIX EDIZIONE - Fondazione Scuola Arti e Mestieri "F. Bertazzoni" - Suzzara (MN)

2020 “#GlobalViralEmergency / Fate Presto” L’arte tra scienza, natura e tecnologia - Spazio Ophen Virtual Art Gallery – Salerno

“Fragilità e Distacco / 70 Years Ruggero Maggi”

SPAZIO OPHEN VIRTUAL ART GALLERY

Via S. Calenda, 105/D - Salerno, Tel/3937380225

e-mail: [email protected]

Gallery: http://www.collezionebongianiartmuseum.it

Orario continuato tutti i giorni dalle 00.00 alle 24.00

#ruggeromaggi

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